by Debra Dean
My humiliation turned to anger. This dowry was rightly mine. Without it, I had nothing to bring to a marriage and was no better than a beggar. With what dignity I could feign, I let Gaspari know that I released him from any obligation.
“Obligation?” He tilted his chin and knitted his brow in the way he had of seeming puzzled or vexed or both. I think it is the habit of someone who must continually question his understanding, for I noticed that he never wore this look when speaking his own tongue.
“It is your father does not want you, Dashenka. My feelings have not changed.”
We were wed quietly and without ceremony. The church would not condone such a marriage, but Gaspari bribed a priest to mutter a few words over us in the vestibule of the church, with Xenia and five musicians from the Italian Company as witnesses.
Upon leaving, Xenia invited the beggars on the steps to share in the wedding supper, and with the priest and this motley company we returned on foot to the house. It was high summer, and the servants had spread blankets in the yard that we might dine al fresco, as the Italians say, like peasants in the field at harvesttime.
Toasts were made with both vodka and a sweet liquor that tasted of licorice. One by one, the guests wished us wealth and happiness and long life. “Per cent’anni,” the Italians said. For a hundred years. And “Gor’ko!” the Russians answered. The vine is bitter, and to make it sweet the bride and groom must kiss.
Gaspari held my chin and put his mouth on mine. His lips were soft and insinuating. I had never been kissed and did not know that a shock of heat can travel between two bodies. I startled and drew back. About me, there were hoots and cheers.
In all this celebration, Xenia had sat apart with the priest. But on hearing the noise, she rose from her seat. “The time has come,” she said, and taking me by the hand led me into the house. At the top of the stairs, she turned into her room.
Her bed was dressed in the bridal linens I had stitched more than half my life ago, put away for this night, and then forgotten. Draped across these was a nightgown. I had not seen it for some dozen years, but it was so deeply familiar that my eyes instantly sought the place on the yoke where my mother had sewn a rosette. Next to it was my first imperfect copy—its stitches uneven and lumpy, the linen round it pulled and pricked—and round the yoke the record of my growing skill was visible in each successive flower. I felt again the remembered pressure of the thimble and needle in the tips of my fingers, my furrowed concentration as I had worked this bit of linen. Just as a peasant works his patch of earth—his sweat watering the soil, his prayers tilled into it season after season, and in turn, the soil worked into his brown palms and under his nails—we twine ourselves into a small piece of the world and it becomes us. My old life was suddenly very dear to me.
Xenia pressed a paper into my hand. It was the deed to the house. At the end of the faded document was fresh ink. In the name of Colonel Andrei Feodorovich Petrov, I bequeath to my cousin, Daria Nikolayevna Pososhkova, this house and all my worldly goods. May she use them to God’s glory and in memory of our love.
Below this, the priest had marked a place for her to sign and added another inscription saying that it was copied and witnessed on this date.
I hesitated, my eyes drifting back to the bed. “But where shall you sleep?”
Was there ever such a dolt? But Xenia did not mind my ungracious thanks. She began to unlace my dress. “You shall be with your beloved, and I with mine.” She helped me to remove my undergarments until I was naked and shivering, though the night was warm. Below the open window, the Italians had begun to serenade. Their high voices drifted up and snared in the limbs of the plane tree and fluttered its leaves so that they sparked with the last lights of the evening sun.
She slipped the gown over my head, and my arms into the sleeves, and the moment was upon us. The feeling rose up in me that I was departing on a long journey from which I should not return. Like all travelers, I wished to sit with her in silence for a time before I set out, but I could not give voice to this and so, as she started to leave, I impulsively threw my arms round her and clung as though we were about to be parted forever. She stroked my hair, and after a time loosened herself from my grasp. “He is waiting.” And with this, she closed the door behind her and left me alone.
I do not know how long I remained there before Gaspari knocked. It must have surprised him to enter and find such an immodest and eager-seeming bride standing just on the far side of the door.
“You are not in bed.” He, too, was dressed in a nightgown, and though this was unremarkable given the circumstances, I had not anticipated it. Transfixed, I stared at the curve of his breasts beneath the thin linen. In the baths, I had seen the bodies of men and of women, but I had never seen this.
He went to the window and closed it, muting the sounds of music. Then he pulled fast the drapery and, blessedly, dissolved from view. I allowed myself to be led to the bed and lifted up onto it. In the dark, I heard his breathing and felt his hand at my waist, very gentle.
My recollection of what followed has the quality of a fever dream in which the most astonishing happenings—such that could scarcely be imagined by the waking self—are met by the dreamer without question. My body, suddenly unfamiliar to me, was revealed to be a map that could be read by touch. His hands, soft as a woman’s, found those places where the soul lay just beneath the surface, like coals banked in a white ash of skin. His tongue worked in more secret places, speaking a hitherto unsuspected language. With quiet insistence, he coaxed from me a wild fluency. I writhed and cried and burbled gibberish and was by all outward and inward signs overtaken by a kind of lunacy from which I emerged spent and badly shaken. I began to weep. It frightened me how thin is the membrane that separates us from madness. I thought of Xenia.
“Did you not enjoy it?”
I did not know how to answer. “I thought I should die.”
“It is called the little death.”
I was hotly ashamed, but I had to know. “Is this what others do?”
“Most take their pleasure more directly. What they say, a means? To get children? But I was not created to get, only to give. However poor, it is my gift to please.” For all the seeming modesty of his words, there was pride in his voice.
“But if it gives you no pleasure—”
“No, no, it makes me very happy.” He found my hand. “You are like figs, Dashenka.”
Did you not enjoy it? Xenia had asked this same question of me several years earlier. I had accompanied her and Andrei to Grand Duchess Catherine’s summer palace, Oranienbaum. As a winter entertainment for Catherine’s court, an immense sliding hill had been constructed of timbered frames in the shape of an upended bow and bricked with polished ice so that one might slide down one slope and then up the facing side. It was smaller than the famed Flying Mountain that is there now, but more treacherous, for there was no track to hold the sledge to its course, nothing to prevent it from spilling over the edge.
At Xenia’s urging, we mounted the steps to the top. From this vantage could be seen the entire breadth of the park, the palace in the distance and, gleaming dully like a river, a long ribbon of ice falling away from the platform where we stood. Donkeys and serfs working with ropes were hauling a small sledge back upstream. It resembled a coffin fit with runners. They heaved it up onto the platform, and then waited on us with horrible expectancy.
Together with the driver, we were wedged into this conveyance, Xenia in front and I behind her. Then we were pushed to the lip of the precipice—and over. The sledge careened down the steep incline, ice rushing towards us and all else blurred by terrifying speed. I buried my eyes in the only solid thing, Xenia’s back. She was screaming. I felt the weightless velocity of our descent in my liquefied bones. Then, with a nauseating heave, we reversed course and began to slide backwards, falling and falling and falling. At long last, the sledge began to slow, and finally it came to a rest. We emerged, miraculously unharmed. Xenia was laughing
, breathless and eager to ride again.
“It is like flying!” she said, and was puzzled that I did not share her euphoria.
The morning following the wedding, Xenia was gone from the house. I thought nothing of this, but when she did not return by late afternoon I sent Grishka to the church to fetch her. He returned and reported that she had not been seen there. I sent him directly back out to look for her at Andrei’s grave. So narrow were her habits that I could not conceive of any other destination, but even before he returned, a part of me knew she had gone much farther.
I found myself standing outside Andrei’s room. Since his death, the door had remained closed, but that morning it stood ajar. I entered. In the faded heat of the midsummer evening, the room was close. Everything in it was silted with a fine sheath of dust, but otherwise it seemed much as it had been while he was alive. Because he slept in Xenia’s room, it was not furnished with a bed but only a dressing table, a boot chair and commode, a standing mirror, and other such accoutrements as are necessary to a gentleman’s dressing room. His wig was now gone from its stand, and there were clean shapes on the dressing table where formerly there had been jars of pomade and powder and whatnot. She had given some of his things away, yet by comparison to the looted appearance of the rest of the house the room seemed overstuffed with possessions.
For this reason, perhaps, it was some moments before I saw Xenia’s black mourning dress, her last remaining garment, discarded on the floor of the empty armoire. When I picked it up, something fell from its folds: the delicate cross and chain she had worn round her neck since infancy. Apprehension knifed through me.
Still, I had only a foreboding and nothing material to pin it to. In the weeks that followed, I returned to the church and to Smolenskoye cemetery again and again, thinking I might find her or some sign that she had been there. I sought her out in increasingly unlikely quarters of the city as well, asking at churches and taverns and wherever people were congregated if any had seen a woman of about my years but more comely and answering to the name Xenia Grigoryevna. That by all appearances she had left the house unclothed would suggest that someone should have remembered seeing her, but it was as though she had been removed from the earth and no trace left behind.
We went to the authorities, but they were uniformly uninterested—women go missing all the time, murdered or escaped from husbands or fathers or masters. As Xenia belonged to no one, no husband or father or master, she might go where she pleased and they had no cause to find her and bring her back. Yes, said one uncurious officer, it was less common for a woman to leave behind even her clothing. But then again, he added, the rivers are full of madwomen.
When it was spoken aloud, my foreboding instantly assumed material form. I recalled the terms of her parting from me on my wedding night. “You shall be with your beloved, and I with mine.” How had I missed the portent in these words when she said them? Why would she give me her house except that she saw no further need of it herself? Why had I not questioned this gift?
The answer came to me that I had not questioned it because I had need of a house.
After this, I could not cross a bridge without my gaze drifting down to the water and seeking there her countenance, wavering dim and green in the depths. What I found was only my own reflection on the surface. I contemplated Lake Svetloyar and the pilgrims who had gone there and disappeared.
At the end of a fortnight, Gaspari was compelled to return to the Italian Company, which was still in summer residence with the court at Tsarskoye Selo. I could not bring myself to desert the city. “If she were to return . . .” I explained. He agreed, though I saw in his face that it was only out of kindness and an unwillingness to destroy what hope I had.
In truth, this hope was small and unsteady. Strung between unsettled expectation and despair, on some days I prayed fervently that God might bring her back to me and at other times I asked only for her bones that I might lay my grief to rest alongside them. Later still, my supplications were even more faltering and exhausted. Give me only this, I prayed, the reassurance of your presence. But my thoughts floated outwards and came back thin as an echo. I continued to look for her on the church steps, but she was never there, and I went less often. At some moment unmarked by me, the low flame of my faith guttered and went out.
Chapter Twelve
The musici were notorious for being temperamental—it was widely held that the sacrifice of their manhood unbalanced their humors—and Gaspari’s reputation in the court was no different. Stories of his unrestrained behavior circulated through the court: that he had insisted on being reseated above the salt at a supper and then left anyway, that he had ripped up a score because he did not like the composition, that he canceled performances for no better reason than that he objected to the weather. Of course, one cannot depend upon wags for the truth if it can be improved by exaggeration and falsehoods. In truth, the thin blood of Italians is unsuited to our climate, and Gaspari suffered most grievously in the winter. He was often wracked with terrible chills and coughs, and if he did not perform, it was because of this. And while it is true that he once called Alexi Bestuzhev-Ryumin a horse’s ass and refused to sing a note unless the Grand Chancellor was first removed from the building, it was not reported that the Grand Chancellor had earlier insulted him very grievously or that the whole matter came to nothing once it was discovered that there had been a misunderstanding and the Grand Chancellor was not, after all, present at the opera house that evening.
I doubt the world would have credited how unassuming a man Gaspari was within our walls and how generous to his friends, but he did nothing to help his own cause. Perceiving that most persons found him strange and repellent, he moved through society with a haughty air, stiffening at whispers and sensitive to imagined slights. And if any person had the temerity to talk while he sang or to applaud tepidly afterwards, that person was forever his enemy. Even fawning admiration, though he craved it, might arouse in him suspicions that he was being mocked, and he would then retaliate with a barbed wit.
As the cognoscenti prize most what is most rare and delicate, they tolerated what they deemed this capriciousness and even encouraged it. They wanted monsters, and so they had them.
In the year that followed Xenia’s disappearance, Araja announced that he would revive his Alessandro nell’Indie, the opera that had first brought Gaspari to the attention of Petersburg. With the singer Carestini gone to London, Gaspari anticipated taking the primo uomo role of the Indian King Poro who battled with Alexander the Great for the love of his Indian Queen, Cleofide.
Gaspari was violently offended, then, to learn that Araja had awarded the role instead to Lorenzo Saletti for his return to the Russian court. “It is the faithful dog is kicked,” Gaspari said.
He took up his old part, that of Alexander, but returned from rehearsal the first day frothing with bitterness towards Saletti, who was, he claimed, so past his vigor that his listeners must envy the deaf. “Squeak, squeak, squeak! I cannot bear it! I cannot pretend to a noble contest with this fat, old mouse. I should be chasing him about the stage with the broom!”
He grew increasingly distressed with each rehearsal. It physically pained Gaspari to hear a sour note, and though he did his best to shield himself from the assaults by covering his ears while Saletti sang, it was more than he could endure. He broke down into weeping one night, and I feared he would not last until the evening of the first performance.
It was my habit to watch his performances from the wings, where I could not be seen. Sitting in the house meant suffering the many eyes that peered at me from behind fans, the trail of titters that attended my coming or going. “The musico’s wife,” they would whisper, and I knew they were thinking of what we did in our bed.
And so, on the first evening, after I had helped Gaspari with his dressing, I tucked myself behind a bit of scenery, where I should be out of the way.
Saletti took the stage in his gold turban and striped robes, assumed a pose
, and without yet singing a note brought the audience to a cheer. When he had drunk his fill of it, he began to sing. He was indeed past his strength, though not so terrible as my husband had portrayed him. I looked over to Gaspari, who stood in the shadow of the proscenium awaiting his own entrance. His painted features twisted at each wavering note, and I worried that he might turn and leave the theatre. But as I watched, he closed his eyes and shook loose his long limbs.
As Saletti scaled the last treacherous note of his aria, Gaspari strutted onto the stage, swishing his purple robe in glorious arcs of color, and planted himself in the center of the footlights. He did not wait even a beat after Saletti’s last note before he began to sing himself, and thus he deprived the older musico of any applause. For the length of the opera, Gaspari greatly embellished his part, departing from the score to weave in filigrees of trilling and florid ornamentation. The battle between Alexander and the Indian King for the love of Cleofide was a contest also between the two musici, and it was one that Saletti could not win. To hear them singing together was to see history reenacted and to understand how Alexander had so thoroughly vanquished and humiliated India.
At the end of the second act, Gaspari finished his final aria with an exquisite messa di voce, sustaining a single note, letting it swell and then fade almost to nothing before it rose again like a phoenix. The audience was stirred to its feet and shouted its bravos. Rather than exiting, Gaspari remained near the lip of the stage as Saletti sang, that he might relish the unflattering comparisons being made in the house.
This triumph did not appease Gaspari’s pricked vanity. He talked more frequently of quitting Russia—moving to Italy or even to Paris, where the climate was more temperate and he might be better appreciated—but he was too much rewarded in the employ of Her Imperial Majesty to give it up as yet for uncertain prospects. And so we continued to live a quiet life in the shadow of the court.